A Quote by Lawrence Osborne

In Bangkok's budding literary scene, Prabda Yoon sits at the centre. — © Lawrence Osborne
In Bangkok's budding literary scene, Prabda Yoon sits at the centre.
I acted as a mood builder in 'Love Rain,' so I thought it was going to be a similar role in 'Reply 1997.' Then I found out it was for the role of Yoon Yoon Jae, so I said no. I didn't think that I was in the position to take such a cool character.
There's something very misleading about the literary culture that looks at writers in their 30s and calls them 'budding' or 'promising', when in fact they're peaking.
I find that when you open on a group of people sitting down and talking, the scene sits down with them. The best antidote for that is an entrance. Begin the scene with someone entering, and somehow it’s more interesting.
Literary dementia seems dated now, but there was a time when a month in the funny farm was as de rigueur for budding writers as an M.F.A. is now. To be sent away was a badge of honor; to undergo electroshock, a glorious martyrdom.
Sometimes I sits and thinks. Other times I sits and drinks, but mostly I just sits.
Poetry lies at the centre of the literary experience because it is the form that most clearly asserts the specificity of literature.
The self is not only the centre but also the whole circumference which embraces both conscious and unconscious; it is the centre of this totality, just as the ego is the centre of consciousness.
For me it's a remarkable thing that there is a prize celebrating and honouring and making for a brief moment short fiction the centre of the literary universe.
Yoon Se-ri is a charming and outspoken woman.
I’m not club-able, you see. I don’t like literary parties and literary gatherings and literary identities. I’d hate to join anything, however loosely.
My intention was to write a chapter of the moral history of my country and I chose Dublin for the scene because that city seemed to me the centre of paralysis.
Are there any writers on the literary scene whom I consider truly great? Yes: Truman Capote.
When we are very young, we tend to regard the ability to use a colon much as a budding pianist regards the ability to play with crossed hands: many of us, when we are older, regard it as a proof of literary skill, maturity, even of sophistication; and many; whether young, not so young, or old, employ it gauchely, haphazardly, or at best inconsistently.
I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.
have a much harder time writing stories than novels. I need the expansiveness of a novel and the propulsive energy it provides. When I think about scene - and when I teach scene writing - I'm thinking about questions. What questions are raised by a scene? What questions are answered? What questions persist from scene to scene to scene?
What I don't like is when I see stuff that I know has had a lot of improv done or is playing around where there's no purpose to the scene other than to just be funny. What you don't want is funny scene, funny scene, funny scene, and now here's the epiphany scene and then the movie's over.
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